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Ohio Communication Journal Volume 56 – March 2018, pp. 59-68 Rhetorical Re-Framing and Counter Narratives: An Ideological Critique of the Christian Hip-Hop Artist Lecrae Moore Robert Razzante jw Smith This essay explores the burgeoning popularity of Christian hip-hop artists. We examine how one particular artist (Lecrae Moore) manages to achieve narrative fidelity, cultural integrity, and ideological transformation through both his music and rhetorical presence. Utilizing an ideological methodological approach, the relationship between rap music, hip-hop culture and the black church is contextually addressed in this analysis. We conclude that a song with a secular aesthetic and an implicit sacred message may be more persuasive in challenging the dominant narratives of violence, drugs, and the objectification of women. Keywords: Hip-hop, religion, ideology, counter-narrative, cultural-aesthetics Fisher (1984) suggests one develops an epistemology through the use of narratives and storytelling. The degree to which a story resonates with an audience depends on the source’s credibility. A source may increase their credibility through what Fisher (1985) calls, narrative fidelity. Narrative fidelity is, “the ‘truth qualities' of the story, the degree to which it accords with the logic of good reasons: the soundness of its reasoning and the value of its values (p. 349).” Hip-hop scholars posit rap music as a specific mode of storytelling that shares insight into the experience of black U.S. Americans (Miller, Hodge, Coleman, & Chaney, 2014; White Hodge, 2010). In a content analysis of the top-rated rap music videos for 2008, more than half of the songs referenced sexual misogyny, violence, and sexual desire whereas a third referred to religious symbols (Morgan et al., 2012). As a result, a religious hip-hop artist may lack credibility due to their message not maintaining narrative fidelity to the dominant narrative of what rap music videos portray. However, Lecrae Moore, has been able to maintain credibility to both hip-hop culture as well as his Christian faith, all while producing rap music. Lecrae released his first recording, Real Talk, in 2004. However, Lecrae turned from an underground rap artist to a mainstream sensation in 2013 when his recording, Gravity, was recognized as a finalist for the “Best Gospel Album” at the fifty-fifth Annual Grammy Award ceremony (Moore, 2013a). As of 2016, Lecrae published an autobiography articulating the role of his faith during his life struggles through adversity. Lecrae’s story and music is worth analyzing as a case study of how a hip-hop artist can simultaneously practice their faith through all while producing rap music. As such, an ideological critique allows for us to examine how Lecrae is able to maintain narrative fidelity to both ideologies while constructing his own hybrid musical identity In this essay we primarily analyze an interview done by the Public Broadcasting Service (PBS) with the Christian hip-hop artist, Lecrae (Moore, 2013c). This critique will include several citations from the interview, along with quotations from specific lyrics that illustrate Lecrae’s message. Lecrae’s interview and lyrics provide a foundation from which we examine his ability to simultaneously maintain cultural integrity to both hip-hop culture and Christianity. In particular, we attempt to examine the rhetorical strategies of the gospel singer, Lecrae, and how he is able to reframe the image of hip-hop culture while incorporating a sacred message. _____________________________ Robert J. Razzante (M.Ed., Ohio University). Robert J. Razzante is a second year doctoral student in the Hugh Downs School of Human Communication at Arizona State University. Rob is interested in how people come to communicate through prejudice toward mutual understanding. jw Smith (Ph.D., Wayne State University). jw is an associate professor of communication in the School of Communication Studies at Ohio University. His research specializations include communication and disability as well as African American Rhetoric. 60 Razzante & Smith / Lecrae, an Ideological Critique Lecrae Interview In 2004, Ben Washer and Lecrae Moore founded Reach Records, a Christian hip-hop record label. In a joint statement on their website, Washer and Moore (2017) note that Reach Records serves as a place for creating music from artists who are, “unashamed to be themselves and remain true to their convictions.” Furthermore, the goal of Reach Records is to, “change the way people see the world.” As such, Washer and Moore set out to challenge the status quo that hip-hop culture and religion are incommensurable. The interview with Lecrae serves two main purposes. First, the interview offers a record of Lecrae’s vision. Second, the interview provides specific examples of how Lecrae finds commensurability to both Christianity and hip-hop culture. It is within this commensurability that we argue Lecrae finds narrative fidelity to both ideologies through a hybrid musical identity. Lecrae’s interview with PBS’s Religion & Ethics Newsweekly Series aired on February 8, 2013. The Religion & Ethics Newsweekly Series is known for, “providing distinctive, cutting-edge news coverage and analysis of national and international events in the ever-changing religious world” (“About the series,” 2013). The title of PBS’s interview with the Christian hip-hop artist is, “Lecrae extended interview: Can you be Christian and rap at the same time?” In the eight minutes and twenty-six seconds video, Lecrae speaks on the following topics of his: past, lyrical style, strategies in connecting to his audience, and personal goals through his music. Three of Lecrae’s songs and music videos are interwoven into the PBS interview as segment dividers: “Tell the World” (2012a) at the beginning, “Just Like You” (2010) at one minute and fifty seconds, and “Mayday” (2012b) at four minutes and thirty-seven seconds. All three music videos demonstrate Lecrae’s lyrical style in conjunction with sights and sounds of hip-hop culture. Defining a Christian Hip-Hop Artist Research on Lecrae is limited, but scholars and journalists across a wide variety of disciplines have researched themes that appear in Lecrae’s music. For example, scholars in the field of African American Studies, Communication Studies, and Hip-Hop Studies have explored the themes of: African American rhetoric, the social implications of hip-hop culture and rap music, the black church, and identity. In this review of literature, we will focus on a few sources that highlight the four categories. African American Rhetoric According to Cummings & Moore (2003), there are six principles that create the African American cosmology: “the centrality of Jesus; the symbolic importance of the word freedom as a communal worshiper; intense enthusiasm; belief in personal conversion of the individual worshiper; recognition of the African heritage; and commitment to racial parity, justice, and equality” (p. 62). Cosmology is the way one sees the world in which they live. Lecrae’s cosmology heavily influences his lyrics, and by understanding Lecrae’s cosmology, it is then possible to get an understanding of Lecrae’s message. Carroll (1966) contends that “a change in language can transform our appreciation of the cosmos” (p. 365). Rap music has become a source of communal identification for its black audience (Rose, 1994). Parmar (2005) posits that through the use of personal experience, rappers become critical educators that use their lyrics as a way to encourage transformative dialogue. More specifically, rap music can be used as an art form to interpret different representations of African Americans in the media. Subsequently, messages in rap music expose how culture, knowledge and power play a role in that representation. Finally, African American rhetoric through rap music influences the cosmology of artists and listeners. In order to better understand how Lecrae is able to use African American rhetoric and Christianity as tools for change, norms of the black church must next be considered. The Black Church Lincoln and Mamiya (1990) identify the three main pillars of “priestly and prophetic functions” as: relationships, liberation, and community (p. 320). Relationships, liberation, and community within the black community serve as an historical foundation from which Lecrae bases his lyrical messages. We place extra focus on the three main pillars of priestly and prophetic functions in order to examine Lecrae’s lyrical content. Because Lecrae is a hip-hop artist who sings about his faith, he may be considered an evangelist or preacher of the Christian faith. Ohio Communication Journal / March 2018 61 According to Alkebulan (2003), “the effective African preacher or lecturer understands the transformative power of the word” (p 30). In contrasting written history and oral history, Lecrae is able to use the power of spoken word to transform his static audience into aware and active consumers of his sacred and secular message. African philosophy incorporates sacred and secular synergistically, rather than separating the two (Kirk-Duggan & Hall, 2011). Lecrae’s lyrical content serves as a medium through which he binds the sacred with the secular to reach his audience. In building on the concept of oral communication role in the Black Church, we turn now to the theme of rap music. Rap Music Hip-hop as a co-culture was formed by the African American community in the 1970s. According to Parmar (2009), hip-hop culture consists of four specific practices: turntablism (DJing), b-bopping, graffiti art, and rap music. According to Miller et al. (2014), “Hip Hop culture has seemingly transcended its initial ‘fad’ trope and developed into more than just a musical genre; it is a voice; it is an identity; it is a movement; it is a force; it is a community of people seeking justice and higher learning; it is an environment for those seeking spiritual solace and cathartic release; it is performance art; it is, as KRS-One has argued, a place where both marginal and mainstream voices can be heard and flourish.” (p.

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